Humberto Brito

Aristotle’s _Poetics_ displayed an unambiguous interest in poetry and drama, and modern readers have been always inclined to suppose that Aristotle’s fundamental purpose was to endorse the rewards of dealing with mimetic materials: paintings, plays, poems, sculptures, and so forth—representational art, generally. Thus the _Poetics_ has been praised as the rightful ancestor of esthetics as a distinct field of inquiry, and as a philosophical account of how art makes us smarter, morally deeper, and better persons. This chapter calls this “injunctive Aristotelianism,” and it challenges the belief that there is only this one strain of significance stemming from Aristotle’s text by offering in its place a different kind of focus, one uncovering ever-more fine threads that interrelate, and show the deep connections between, our thinking about art and about morality.

A cidade nas práticas artísticas [The city in artistic practices] is the result of the work developed, of the presentations and the debates held within the cycle of seminars “The experience of the city between art and philosophy”, held between 3 March 2020 and 16 June 2021 (calendar dramatically compromised by the challenges of the COVID 19 pandemic), one of the main activities of the OBRA project — Fragmentation and Reconfiguration: experiencing the city between art and philosophy, based at IFILNOVA — Philosophy Institute of NOVA, in Lisbon. The book is divided into five parts, relating to each of the artistic disciplines to which the seminars were dedicated – cinema, photography, sound arts, literature and architecture —, which are edited by the organizers responsible for each of them — respectively, Susana Viegas, Humberto Brito, Nuno Fonseca João Oliveira Duarte and Susana Ventura — and composed of the respective narrated accounts of each seminar and of short essays, some merely textual, others graphical or even photographic, which are either in-depth versions of the reflections and positions that were presented and debated by the participants and guests, or works that motivated and inspired the work of the seminars. The seminar cycle and the book now presented here intend to reflect on the role of artistic practices in the representation and reconfiguration of urban experience, trying to understand their different attempts to apprehend and express the fragmentation of aesthetic experience in modern and contemporary cities, as well as to evaluate their contribution to an eventual symbolic and imaginative reconfiguration of that experience. Each section tries, in its own way, to answer questions such as: How do these arts think and reinvent the city? What do they make us feel? And what is their social and political role? For reasons that are easy to understand, Lisbon was the starting point, but other cities were also part of the journey.

Philosophers such as Elizabeth Anscombe and Donald Davidson have explained that we cannot derive predictions from judgments such as "he boasted from vanity." Such judgments are also the source of countless painful mistakes. However, are they necessarily unreliable? Often enough, even if only gradually and partially, we get people right. Assuming that we do is already assuming that there must be a connection, if not causal then at least casual, between what a person is, what she does, and how she acts; and that we may describe it correctly. If no ironclad generalizations can be made that connect the way a person is, her reasons, and her actions, how might we describe correctness in judgments such as this?Anscombe...